Entropy isn’t what it used to be


In the last years news are over and over again about record breaking prices reached for an artwork at a public auction. Such high pricing strucks not only the old masters but also works for still living artists. As you might know the prices for young artist’s paintings are often assessed by canvas size. So the question for my use-case arises: Is there also a correlation between size and hammer price of famous artworks at auctions?

{ Ruth Reiche | Continue reading }

The Sphinx Without a Secret


Le pop art dépersonnalise, mais il ne rend pas anonyme : rien de plus identifiable que Marilyn, la chaise électrique, un pneu ou une robe, vus par le pop art ; ils ne sont même que cela : immédiatement et exhaustivement identifiables, nous enseignant par là que l’identité n’est pas la personne : le monde futur risque d’être un monde d’identités, mais non de personnes.

We must realize that if Pop Art depersonalized, it does not make anonymous: nothing is more identifiable than Marilyn, the electric chair, a tire, or a dress, as seen by Pop Art; they are in fact nothing but that: immediately and exhaustively identifiable, thereby teaching us that identify is not the person: the future world risks being a world of identities, but not of persons.

{ Roland Barthes, Cette vieille chose, l’art, 1980 }

art { Andy Warhol, Foot and Tire, 1963–-64 }

related { David Cronenberg on Foot and Tire }

What we changed was innocence for innocence




{ Lee Price }

‘The mother of excess is not joy but joylessness.’ –Nietzsche


There are two basic critical responses to today’s art market. One argues that the market has nothing to do with art, and that whatever happens in the market is irrelevant to the actual content, meaning and love of art. Art is to the art market as sailing is to the business of hawking mega-yachts to multibillionaires. The other view, succinctly stated by Perl, is more pessimistic: The art market is ruining art, spiritually and as a cultural practice.

{ Washington Post | Continue reading | via gettingsome }

Commenting on the deceased’s flaws, especially at length, is considered impolite


{ Diddo, Ecce Animal | Compression molded Cocaine (street sourced) and Gelatin. | More: In order to prepare and analyze the purity of the accumulated ’street’ Cocaine, I contacted pharmacists at a renowned laboratory }

High dive into frozen waves where the past comes back to life


Of all the modern artist-curator-collectors, one stands out for the eccentricity and extremity of his habit. Viktor Wynd is the grandson of the novelist Patrick O’Brian (who himself wrote a biography of perhaps the greatest collector of the 18th century, Sir Joseph Banks). His Little Shop of Horrorsin Hackney, London, presents an up-to-date collection of curiosities. Visitors are greeted by more taxidermied beasts, from crows to hyenas; the faint-hearted are advised not to proceed downstairs, into Wynd’s dim and dungeon-like cellar, which contains two-headed babies and antique pornography. (There’s a long tradition of such shock exhibits – guests arriving at the home of the celebrated 18th-century anatomist and collectorJohn Hunter were greeted by the preserved erect penis of a hanged man in his hallway.)

{ Guardian | Continue reading }

Who’s haunting who?


{ John Singer Sargent, The Daughters of Edward Darley Boit, 1882 }


{ with Velázquez’s Las Meninas, Museo del Prado, Madrid, Spain }

‘Why must everything—anything—contain its own critique?’ –Sarah Nicole Prickett


Research in recent years has suggested that young Americans might be less creative now than in decades past, even while their intelligence — as measured by IQ tests — continues to rise.

But new research from the University of Washington Information School and Harvard University, closely studying 20 years of student creative writing and visual artworks, hints that the dynamics of creativity may not break down as simply as that.

Instead, it may be that some aspects of creativity — such as those employed in visual arts — are gently rising over the years, while other aspects, such as the nuances of creative writing, could be declining. […]

The review of student visual art showed an increase in the sophistication and complexity both in the designs and the subject matter over the years. The pieces, Davis said, seemed “more finished, and fuller, with backgrounds more fully rendered, suggesting greater complexity.” Standard pen-and-ink illustrations grew less common over the period studied, while a broader range of mixed media work was represented.

Conversely, the review of student writing showed the young authors adhering more to “conventional writing practices” and a trend toward less play with genre, more mundane narratives and simpler language over the two decades studied.

{ University of Washington | Continue reading }

A dark unfathom’d tide, of interminable pride


Francis Bacon’s 1969 triptych, “Three Studies of Lucian Freud,” sold for $142.4 million at Christie’s, described as the highest price ever paid for an artwork at auction. […]

Sometime in the 1970s the three panels were sold separately. The right-hand panel was bought by a collector in Rome who spent 20 years trying to reunite the triptych. He bought the middle panel from a Paris dealer in the early 1980s. Then, in the late ‘80s, he bought the left and final panel from a collector in Japan. It is also one of just two full-length triptychs that Bacon painted of Freud — the other, from 1966, is missing.

{ NY Times | Continue reading }

previously { List of most expensive paintings }

‘If you’re looking for sympathy you’ll find it between shit and syphilis in the dictionary.’ –David Sedaris


{ Velvet Underground Horrifies Psychiatrists, NY Times, 1966 }

‘Time, which is the author of authors.’ –Francis Bacon (1561-1626)


You are doing something new in making exclusive use of second-hand images.

{ David Bourdon interviewed by Andy Warhol | Continue reading }

art { Andy Warhol, Knives, 1981-82 | Andy Warhol, Knives, 1981-82 }

Down with the Saozon ruze!


I purchased this product and sent it back immediately. The moment I took it out of the wrapping, I knew there was a problem, but I couldn’t quite put my finger on it.

Then I did put my finger on it. It felt a bit weird and when I started picking at it some of the paint flaked off. Cheap materials.

Anyhow, I may not be a member of the cognoscenti, but I have several Thomas “the Painter of Light” Kinkade paintings, so I know art. First of all, shouldn’t the lines be straight? It’s way too blurry and it hurts my eyes just to look at it. You know what also hurts my eyes? That little girls face. It looks like she has rosacea or something. And why is the girl so sad?!? Thomas Kinkade paintings are happy and joyful. This painting is just a bummer.

Save yourself a lot of disappointment and $1,448,500 and just get yourself a nice Kinkade lithograph. You’ll be glad that you did.

{ Customer Review/Amazon | Continue reading }

related { Amazon Enters Art World; Galleries Say They Aren’t Worried }

related { The utility of bad art }